Texas Rep’s BEEHIVE is 6 Fabulous Women Taking Us Back to the 60s

Texas Repertory Theatre‘s Beehive: The 60s Musical is so packed with passion, precision, nostalgia, and brilliance from its six mega-talented performances that some bad sound issues opening night could not prevent a rousing standing ovation from happening.

One of the performers, Christina Stroup, whose microphone started to act up in the second act, finally discarded her mic and her voice is so rich, powerful, and fabulous that the folks in downtown Houston could hear her phenomenal instrument.

Bee-hive takes us back through a chronological flower-power journey through the best songs of the 60s and the people and moments that best defined the tumultuous 60s.

Early on in the show, we hear “The Name Game” and the girls ask the audience who remembers that song. About half of the audience raised their hands. The song began and one performer approached a woman on the second row and asked her her name. When given the microphone, the woman completely flubbed the song. Another performer, the amazing Lyndsey Kersey, spotted me on the fourth row, and came to me and asked what my name was and could I remember the song and I said yes. She shoved the microphone in my face and I perfectly sang: “Buzz Buzz Bo Buzz Banana Fanna Fo Fuzz Fee Fy Moe Muzz Buzz” to thunderous applause! I should have told her my name was Chuck…

One simply cannot experience this fabulous journey through the 60s without feeling all of those marvelous nostalgic feelings all over again in a very groovylicious way. I never stopped tapping my cowboy boots to the beat and movin’ my entire body to the groove, all the while bopping my head up and down and side to side!

Highlights of the show?

Lori Michelle Callaway‘s Tina Turner set at the top of the second act took me back to the real Tina Turner when our singing group at University of Texas, the Longhorn Singers, brought her to the UT campus for a concert in Gregory Gym in 1975. I am here to say that Ms. Callaway has all of the moves and all of the enticing vocals of the real Tina Turner belting “Fool in Love,” “Proud Mary” and “Rag Doll.” Brava!

Rikki Conner‘s version of Aretha Franklin’s “Respect” takes the house down with the soulful passion of a true artist. Her “One Fine Day” is oh so fine and her “Sweet Talkin’ Guy” is oh so sweet.

LaKaiya Evans is the one to watch here. In fact, you won’t be able to take your eyes off her because she is so energetic, charismatic, and magnetic. She is the tiniest woman onstage with perhaps the most exuberant personality. This woman is going places and I want to be there to watch her rise to the top!
Her version of Aretha Franklin’s “Do Right Woman, Do Right Man” is one of the most magical moments of the show. Her turn as Diana Ross leading the Supremes is phenomenal.

Lendsey Kersey creates an amazing presence playing guitar as Janis Ian singing the controversial song that was banned in many states, “Society’s Child.” Her version of Brenda Lee’s “Rockin’ Around the Christmas Tree” brought back some holiday memories. “I’m Sorry” brought back some bittersweet memories. Her version of Connie Francis’ “Where The Boys Are” is phenomenal. Her turn as Petula Clark singing “Downtown” and “Don’t Sleep in the Subway” gave me goose bumps. This woman can sing in any style in any key. Ms. Kersey is truly one of my favorite musical performers on the stage today.

Hello, Christina Stroup! You know how much I LOVE you! One of the most prolific and professional musical comedy performers in the city, this gal continues to wow and amaze audiences with her powerful, pristine, and mind-blowing vocals. Her “Natural Woman” just may be the most brilliantly sung song in the show. Her version of Leslie Gore’s “It’s My Party” and “You Don’t Own Me” are show-stoppers. No one in town has a more astonishing vocal range than Ms. Stroup—we’re talking 3-4 octaves here.

Perhaps the grittiest and most astonishing moment of the show is when the amazing Kim Truncale tackles a few of Janis Joplin’s most famous songs, “Try,” “Me and Bobby McGee,” and “Ball and Chain.” Her turn singing “Will You Still Love Me Tomorrow?” to sax player Aaron Montez is a high point in the show.

Direction by Dan O’Brien could not be more energetic, precise, passionate, and as entertaining as a Las Vegas revue. He and Lauren Dolk are both credited with the stunningly original and lively choreography that rarely repeats itself in this two-hour 60s extravaganza.

Set design by Trey Otis is sensational and incorporates all of the funky flower designs and psychedelic colors of the 60s.

Lighting design by Eric Marsh is spectacular. I love his moving projections against the upstage cyclorama behind the band.
Tiffani Fuller has a ball with shimmering, day glow, even black light glowing costumes that all sparkle with breathtaking polish and execution. Her wigs are astonishing and playful.

Luke Kirkwood’s musical direction is on fire with passion, soul, and mesmerizing exactness. His band of seven across the back of the stage are perfection, particularly Aaron Montez on a fabulous saxophone and Jonathan Gregory on a mean trumpet.

Texas Repertory Theatre has mounted another gorgeous and highly entertaining musical extravaganza hit with Beehive and you simply cannot afford to miss this unforgettable, nostalgic ride through the 60s and the music that changed our lives forever.